Museums should honor the everyday, not just the extraordinary | Ariana Curtis

49,344 views

2019-01-18 ・ TED


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Museums should honor the everyday, not just the extraordinary | Ariana Curtis

49,344 views ・ 2019-01-18

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: Lee Iseul κ²€ν† : Sojeong KIM
00:13
Representation matters.
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λŒ€ν‘œμ„±μ€ μ€‘μš”ν•©λ‹ˆλ‹€.
00:16
Authentic representations of women matter.
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μ œλŒ€λ‘œλœ μ—¬μ„± λŒ€ν‘œμ„±μ€ μ€‘μš”ν•©λ‹ˆλ‹€.
00:21
I think that too often, our public representations of women
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μΌλ°˜μ μœΌλ‘œλŠ” νŠΉμΆœλ‚œ μ—¬μ„±μ—κ²Œλ§Œ
00:25
are enveloped in the language of the extraordinary.
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λŒ€ν‘œμ„±μ„ λΆ€μ—¬ν•˜λŠ” 면이 μžˆμŠ΅λ‹ˆλ‹€.
00:29
The first American woman to become a self-made millionaire:
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μ—¬μ„± 졜초둜 μžμˆ˜μ„±κ°€ 백만μž₯μžκ°€ 된 λ―Έκ΅­ μ—¬μ„±
00:32
Madam C. J. Walker ...
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λ§ˆλ‹΄ C.J. μ›Œμ»€.
00:34
The dresses of the first ladies of the United States ...
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λ―Έκ΅­ μ˜λΆ€μΈλ“€μ˜ λ“œλ ˆμŠ€.
00:39
Shirley Chisholm, the first woman to seek
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μ—¬μ„± 졜초둜 λ―Όμ£Όλ‹Ή ν›„λ³΄λ‘œ λ―Έκ΅­ λŒ€ν†΅λ Ήμ— λ„μ „ν•œ μ…œλ¦¬ μΉ˜μ’€.
00:42
the US Democratic party's presidential nomination --
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00:44
(Applause)
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(λ°•μˆ˜)
00:47
As a museum curator,
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λ°•λ¬Όκ΄€ νλ ˆμ΄ν„°λ‘œμ„œ
00:48
I understand why these stories are so seductive.
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이 이야기듀이 맀λ ₯적인 μ΄μœ λŠ” μΆ©λΆ„νžˆ μ΄ν•΄ν•©λ‹ˆλ‹€.
00:52
Exceptional women are inspiring and aspirational.
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μ˜ˆμ™Έμ μœΌλ‘œ λ›°μ–΄λ‚œ 여성듀은
μ˜κ°μ„ μ£Όκ³  λ™κ²½μ˜ λŒ€μƒμ΄ λ©λ‹ˆλ‹€.
00:57
But those stories are limiting.
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κ·ΈλŸ¬λ‚˜ κ±°κΈ°μ—λŠ” ν•œκ³„κ°€ μžˆμŠ΅λ‹ˆλ‹€.
00:59
By definition, being extraordinary is nonrepresentative.
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사싀상 νŠΉμΆœν•˜λ‹€λŠ” 것은 λŒ€ν‘œμ„±μ΄ μ—†λ‹€λŠ” λœ»μž…λ‹ˆλ‹€.
01:03
It's atypical.
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μ΄λ‘€μ μž…λ‹ˆλ‹€.
01:05
Those stories do not create a broad base for incorporating women's history,
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이 μ΄μ•ΌκΈ°λ‘œλŠ” μ—¬μ„± 역사λ₯Ό 담을 κΈ°λ°˜μ„ ν˜•μ„±ν•  수 μ—†κ³ 
01:08
and they don't reflect our daily realities.
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일상과 ν˜„μ‹€μ΄ λ°˜μ˜λ˜μ§€ μ•ŠμŠ΅λ‹ˆλ‹€.
01:12
If we can collectively apply that radical notion
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근본적으둜 여성은 인간이고,
01:15
that women are people,
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이 κ°œλ…μ„ λ‹€ ν•¨κ»˜ μ μš©ν•΄λ³Έλ‹€λ©΄,
01:17
it becomes easier to show women as people are:
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μ—¬μ„±μ˜ 인간적 λ©΄λͺ¨λ₯Ό 더 μ‰½κ²Œ κ·ΈλŒ€λ‘œ 보여쀄 수 μžˆμŠ΅λ‹ˆλ‹€.
01:21
familiar, diverse, present.
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여성은 μΉœμˆ™ν•˜κ³  λ‹€μ–‘ν•˜λ©°
역사 속 λͺ¨λ“  μˆœκ°„μ— μƒμƒνžˆ μ‘΄μž¬ν•©λ‹ˆλ‹€.
01:25
In everyone's everyday throughout history,
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01:28
women exist positively --
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여성은 λΆ„λͺ…νžˆ μ‘΄μž¬ν•©λ‹ˆλ‹€.
01:31
not as a matter of interpretation, but as a matter of fact.
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ν•΄μ„μ˜ 차원이 μ•„λ‹ˆλΌ μ‹€μ œλ‘œ μ‘΄μž¬ν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
01:35
And beyond a more accurate representation of human life,
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μ •ν™•ν•˜κ²Œ 인λ₯˜λ₯Ό λŒ€ν‘œν•˜λŠ” κ²ƒμ—μ„œ λ‚˜μ•„κ°€
01:39
including women considers the quotidian experiences
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여성을 ν¬μš©ν•¨μœΌλ‘œμ¨
μ•½ 38μ–΅ λͺ… μ—¬μ„±μ˜ 일상을 μžμ„Ένžˆ μ‚΄ν•„ 수 있게 λ©λ‹ˆλ‹€.
01:42
of the almost 3.8 billion people identified as female on this planet.
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01:48
In this now notorious museum scene from the "Black Panther" movie,
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μ˜ν™” "λΈ”λž™ νŒ¬μ„œ"의 유λͺ…ν•œ λ°•λ¬Όκ΄€ μž₯λ©΄μž…λ‹ˆλ‹€.
01:52
a white curator erroneously explains an artifact
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백인 νλ ˆμ΄ν„°κ°€ 배우 마이클 B. 쑰던이 μ—°κΈ°ν•œ κ·Ή 쀑 μΈλ¬Όμ—κ²Œ
01:56
to Michael B. Jordan's character seen here,
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ν•œ μœ λ¬Όμ„ 잘λͺ» μ„€λͺ…ν•©λ‹ˆλ‹€.
01:58
an artifact from his own culture.
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그의 μžλ¬Έν™” μœ μ‚°μ— λŒ€ν•΄μ„œμš”.
02:01
This fictional scene caused real debates in our museum communities
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이 μž₯면은 μ˜ˆμˆ κ³„μ— μ‹€μ§ˆμ μΈ λ…ΌμŸμ„ μΌμœΌμΌ°μŠ΅λ‹ˆλ‹€.
02:04
about who is shaping the narratives and the bias that those narratives hold.
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λˆ„κ°€ μ„œμ‚¬λ₯Ό κ΅¬μ„±ν•˜κ³ 
μ„œμ‚¬ 뒀에 감좰진 νŽΈκ²¬μ„ λ§Œλ“€κ³  μžˆμ„κΉŒμš”.
02:11
Museums are actually rated
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박물관은 λ―Έκ΅­μ—μ„œ κ°€μž₯ μ‹ λ’°λ°›λŠ” 정보 μΆœμ²˜μž…λ‹ˆλ‹€.
02:12
one of the most trustworthy sources of information in the United States,
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02:16
and with hundreds of millions of visitors from all over the world,
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박물관을 μ°ΎλŠ” 수 μ–΅ λͺ…μ˜ κ΄€λžŒκ°μ—κ²Œ
02:20
we should tell accurate histories,
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μ •ν™•ν•œ 역사λ₯Ό μ•Œλ¦΄ μ˜λ¬΄κ°€ μžˆμ§€λ§Œ
02:22
but we don't.
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κ·ΈλŸ¬μ§€ λͺ»ν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
02:25
There is a movement from within museums themselves
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이런 νŽΈκ²¬μ— λ§žμ„œλ €λŠ” μ›€μ§μž„μ΄
λ°•λ¬Όκ΄€ λ‚΄λΆ€μ—μ„œ μΌμ–΄λ‚˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
02:28
to help combat this bias.
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02:30
The simple acknowledgment that museums are not neutral.
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박물관은 쀑립적이지 μ•Šλ‹€λŠ” 것을 μΈμ •ν•˜λŠ”λ°μ„œ μΆœλ°œν•©λ‹ˆλ‹€.
02:35
Museums are didactic.
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박물관은 섀ꡐ적인 면이 μžˆμŠ΅λ‹ˆλ‹€.
02:37
Through the display of art and artifacts,
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μž‘ν’ˆκ³Ό μœ λ¬Όμ„ μ „μ‹œν•˜μ—¬
02:39
we can incite creativity and foster inclusion,
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창의λ ₯을 μ¦μ§„ν•˜κ³  톡합을 κ°•ν™”ν•  μˆ˜λ„ μžˆμ§€λ§Œ
02:42
but we are guilty of historical misrepresentation.
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역사λ₯Ό μ™€μ „ν•˜μ—¬ μ „λ‹¬ν•˜λŠ” 것은 μ˜³μ§€ μ•ŠμŠ΅λ‹ˆλ‹€.
02:46
Our male-centered histories have left our herstories hidden.
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남성 쀑심적 역사가 μ—¬μ„±μ˜ μ„œμ‚¬λ₯Ό κ°μΆ”μ—ˆμŠ΅λ‹ˆλ‹€.
02:52
And there are hard truths about being a woman,
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μ—¬μ„±μœΌλ‘œμ„œ λƒ‰μ—„ν•œ ν˜„μ‹€μ„ λ§ˆμ£Όν•  λ•Œκ°€ μžˆμŠ΅λ‹ˆλ‹€.
02:57
especially a woman of color in this industry,
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λ¬Έν™”μ˜ˆμˆ κ³„μ— μ’…μ‚¬ν•˜λŠ” μœ μƒ‰μΈ μ—¬μ„±μœΌλ‘œμ„œ
02:59
that prevents us from centering inclusive examples of women's lives.
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μ—¬μ„±μ˜ λ‹€μ–‘ν•œ μ‚Άμ˜ ν˜•νƒœλ₯Ό μ™Έλ©΄ν•˜λŠ” 문화계와 λ§ˆμ£Όν•˜μ£ .
03:04
Museum leadership:
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λ°•λ¬Όκ΄€μ˜ 지도측은
03:06
predominantly white and male,
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주둜 백인 λ‚¨μ„±μž…λ‹ˆλ‹€.
03:08
despite women comprising some 60 percent of museum staffs.
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μ§μ›μ˜ 60%κ°€ 여성인데도 말이죠.
03:13
Pipelines to leadership for women are bleak --
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여성이 μ§€λ„μžκ°€ λ˜λŠ” 길은 무척 μ’μŠ΅λ‹ˆλ‹€.
03:15
bleakest for women of color.
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μœ μƒ‰μΈ 여성에겐 더 μ’μŠ΅λ‹ˆλ‹€.
03:18
And the presence of women does not in and of itself guarantee
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μ—¬μ„± μ§€λ„μžκ°€ μžˆλ‹€κ³  ν•˜μ—¬
λ°”λ‘œ μ—¬μ„±μ˜ λŒ€ν‘œμ„±μ΄ ν–₯μƒλ˜λŠ” 것도 μ•„λ‹ˆμ£ .
03:21
an increase in women's public representation.
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03:24
Not all women are gender equity allies.
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λͺ¨λ“  여성이 μ„±ν‰λ“±μ£Όμ˜μžλŠ” μ•„λ‹™λ‹ˆλ‹€.
03:28
In the words of feminist theorist bell hooks,
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νŽ˜λ―Έλ‹ˆμŠ€νŠΈ 이둠가 벨 ν›…μŠ€μ˜ 말처럼,
03:30
"Patriarchy has no gender."
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"κ°€λΆ€μž₯μ œμ—λŠ” 성별이 μ—†λ‹€."
03:32
Women can support the system of patriarchy
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여성이 κ°€λΆ€μž₯제λ₯Ό 지지할 수 μžˆμŠ΅λ‹ˆλ‹€.
03:35
just as men can support the fight for gender equity.
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λ§ˆμ°¬κ°€μ§€λ‘œ 남성도 성평등을 지지할 수 있죠.
03:39
And we often downplay the importance of intersectionality.
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μš°λ¦¬λŠ” μƒν˜Έκ΅μ°¨μ„±μ˜ μ€‘μš”μ„±μ„ κ°„κ³Όν•˜κ³€ ν•©λ‹ˆλ‹€.
03:43
Marian Anderson was one of the most celebrated voices of the 20th century,
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μŠ€λ―ΈμŠ€μ†Œλ‹ˆμ–Έ 박물관은 20μ„ΈκΈ° 졜고의 μ„±μ•…κ°€μ˜€λ˜
λ§ˆλ¦¬μ•„ μ•€λ”μŠ¨μ˜ 1939λ…„ 곡연 μ˜μƒμ„ μˆ˜μ§‘ν–ˆμŠ΅λ‹ˆλ‹€.
03:48
and the Smithsonian collected her 1939 outfit.
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03:52
After the white Daughters of the American Revolution denied her access
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'λ―Έκ΅­ μ• κ΅­μ—¬μ„±νšŒ(DAR)'κ°€ λ§ˆλ¦¬μ•ˆμ΄ ν‘μΈμ΄λΌλŠ” 이유둜
03:55
to sing in Constitution Hall, because she was black,
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DAR μ½˜μŠ€ν‹°νŠœμ…˜ 홀 μΆœμž…μ„ λ§‰μ•˜μ„ λ•Œ
03:58
she famously sang instead on the steps of the Lincoln Memorial,
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κ·Έλ…€λŠ” λŒ€μ‹  링컨 기념관 κ³„λ‹¨μ—μ„œ
04:02
to a crowd of over 75,000 people.
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7만 5천 λͺ…μ˜ 관쀑을 ν–₯ν•΄ λ…Έλž˜ν–ˆμŠ΅λ‹ˆλ‹€.
04:07
And in libraries all over, including museums,
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μ–΄λŠ λ„μ„œκ΄€μ΄λ‚˜ 박물관을 κ°€λ“ 
04:10
you can still find the groundbreaking 1982 anthology, entitled
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1982년에 μΆœκ°„λ˜μ—ˆλ˜ 획기적인 이 선집을 찾을 수 있죠.
04:14
"All the Women Are White,
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"λͺ¨λ“  여성은 백인이고,
04:16
All the Blacks Are Men,
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λͺ¨λ“  흑인은 λ‚¨μ„±μ΄μ§€λ§Œ,
04:18
But Some of Us Are Brave."
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κ·Έλž˜λ„ 우리 쀑 λˆ„κ΅°κ°€λŠ” μš©κ°ν•˜λ‹€."
04:22
Demands for the increase of women's representation
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μ—¬μ„± λŒ€ν‘œμ„±μ„ κ°•ν™”ν•˜μžλŠ” μš”κ΅¬λŠ” 늘고 μžˆμœΌλ‚˜
04:24
does not automatically include Afro-Latinas like me ...
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μ €μ ˆλ‘œ μ•„ν”„λ‘œ 라틴 μ—¬μ„±μ˜ λŒ€ν‘œμ„±κΉŒμ§€ ν¬ν•¨ν•˜μ§„ μ•ŠμŠ΅λ‹ˆλ‹€.
04:28
or immigrant women, or Asian women, or Native women,
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이주 μ—¬μ„±, μ•„μ‹œμ•„ μ—¬μ„±, 원주민 μ—¬μ„±,
04:31
or trans women, or undocumented women,
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μ—¬μ„± νŠΈλžœμŠ€μ  λ”, λΆˆλ²• 체λ₯˜μž,
04:34
or women over 65, or girls --
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65μ„Έ μ΄μƒμ˜ μ—¬μ„±κ³Ό μ—°μ†Œμž.
04:36
the list can go on and on and on.
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λ‚˜μ—΄ν•˜μžλ©΄ 끝이 μ—†μŠ΅λ‹ˆλ‹€.
04:40
So what do we do?
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우리의 λͺ«μ€ λ¬΄μ—‡μΌκΉŒμš”?
04:43
Targeted initiatives have helped incorporate perspectives
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λŒ€μƒ μ§€μ •ν˜• μ΄λ‹ˆμ…”ν‹°λΈŒλ“€μ„ 톡해
04:46
that should have always been included.
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λ§ˆλ•…νžˆ ν¬ν•¨λ˜μ–΄μ•Ό ν–ˆλ˜ 관점듀이 λ°˜μ˜λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
04:48
I arrived at the Smithsonian through a Latino curatorial initiative
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μ œκ°€ μŠ€λ―ΈμŠ€μ†Œλ‹ˆμ–Έμ— 온 λ°°κ²½μ—” 라틴 νλ ˆμ΄ν„° μ–‘μ„±μ•ˆμ΄ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
04:52
whose hiring of Latinx curators,
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이 ν”„λ‘œκ·Έλž¨μ„ 톡해 라틴 νλ ˆμ΄ν„°λ₯Ό κ³ μš©ν–ˆκ³ ,
04:54
mostly women, by the way,
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λŒ€λΆ€λΆ„ μ—¬μ„±μ΄μ—ˆκ³ μš”,
04:56
has raised the profile for Latinx narratives across our institution.
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이λ₯Ό 톡해 μŠ€λ―ΈμŠ€μ†Œλ‹ˆμ–Έμ˜ 라틴 μ„œμ‚¬κ°€ λ³΄κ°•λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
05:01
And it served as a model
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이 ν”„λ‘œκ·Έλž¨μ„ 발판으둜
05:02
for our much larger Smithsonian American Women's History Initiative,
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μŠ€λ―ΈμŠ€μ†Œλ‹ˆμ–Έμ€ 미ꡭ여성역사 μ΄λ‹ˆμ…”ν‹°λΈŒλ₯Ό κ΅¬μ„±ν•˜μ˜€κ³ ,
05:06
which seeks to amplify diverse representations of women
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λͺ¨λ“  λ©΄μ—μ„œ λ”μš± λ‹€μ–‘ν•˜κ²Œ 여성을 λŒ€ν‘œν•  수 있게 λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
05:10
in every possible way,
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05:12
so that women show up,
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μ—¬μ„±μ˜ 쑴재λ₯Ό λ“œλŸ¬λ‚΄λŠ” κ²ƒμž…λ‹ˆλ‹€.
05:13
not only in the imagery of our contemporary realities,
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ν˜„λŒ€λ₯Ό μ‚΄μ•„κ°€λŠ” 여성을 ν˜•μƒν™”ν•˜λŠ”λ° κ·ΈμΉ˜μ§€ μ•Šκ³ 
05:16
but in our historical representations,
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역사적 λŒ€ν‘œμ„±μ„ λΆ€μ—¬ν•˜λŠ” κ²ƒμž…λ‹ˆλ‹€.
05:19
because we've always been here.
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여성은 항상 μ‘΄μž¬ν•΄μ™”μŠ΅λ‹ˆλ‹€.
05:22
Right now though, in 2018, I can still walk into professional spaces
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2018λ…„, ν˜„μž¬λ„ λ¬Έν™”μ˜ˆμˆ κ³„λ₯Ό λ‘˜λŸ¬λ³΄λ©΄
05:27
and be the only --
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μ €λŠ” λ“œλ¬Έ 사둀에 μ†ν•΄μš”.
05:29
the only person under 40, the only black person,
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μœ μΌν•˜κ²Œ 40μ„Έ 미만이고 μœ μΌν•˜κ²Œ ν‘μΈμ΄μž
05:31
the only black woman, the only Latina,
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μœ μΌν•œ μ•„ν”„λ‘œ 라틴 여성이고
05:33
sometimes, the only woman.
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κ·Έλƒ₯ μœ μΌν•œ 여성일 λ•Œλ„ μžˆμŠ΅λ‹ˆλ‹€.
05:35
My mother is African-American and my father is Afro-Panamanian.
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제 μ–΄λ¨Έλ‹ˆλŠ” 아프리카계 미ꡭ인이고
μ•„λ²„μ§€λŠ” 아프리카계 νŒŒλ‚˜λ§ˆμΈμž…λ‹ˆλ‹€.
05:40
I am so proudly and inextricably both.
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λΆ€λͺ¨λ‹˜μ˜ λͺ¨λ“  면이 μ €μ—κ²Œ 있죠.
05:43
As an Afro-Latina, I'm one of millions.
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μ €λŠ” 수백만의 μ•„ν”„λ‘œλΌν‹΄μΈ 쀑 ν•œ λͺ…에 λΆˆκ³Όν•˜μ§€λ§Œ
05:46
As an Afro-Latina curator, I'm one of very few.
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νλ ˆμ΄ν„°λ‘œλŠ” λͺ‡ μ•ˆλ˜λŠ” μ•„ν”„λ‘œλΌν‹΄κ³„μž…λ‹ˆλ‹€.
05:51
And bringing my whole self into the professional realm
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이런 직업ꡰ에 μ˜¨μ „νžˆ μ € μžμ‹ μ„ λ‚΄λΉ„μΉ˜λŠ” 것은
05:54
can feel like an act of bravery,
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μƒλ‹Ήν•œ μš©κΈ°κ°€ ν•„μš”ν•œ 일 κ°™μ£ .
05:56
and I'll admit to you that I was not always up for that challenge,
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저도 늘 μš©κ°ν•˜μ§„ μ•Šμ•˜μŠ΅λ‹ˆλ‹€.
05:59
whether from fear of rejection or self-preservation.
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κ±°μ ˆλ‹Ήν• κΉŒ λ¬΄μ„œμ› κ³  μžκΈ°λ°©μ–΄μ μ΄κΈ°λ„ ν–ˆμ£ .
06:04
In meetings, I would only speak up
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회의 쀑에 μ œκ°€ μ˜κ²¬μ„ λ‚Ό λ•ŒλŠ”
06:06
when I had a fully developed comment to share.
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ν•  말을 μ™„λ²½ν•˜κ²Œ μ •λ¦¬ν–ˆμ„ λ•ŒλΏμ΄μ—ˆμ£ .
06:09
No audible brainstorming or riffing off of colleagues.
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κ°€λ³κ²Œ μ˜κ²¬μ„ λ‚΄κ±°λ‚˜ λ™λ£Œλ“€κ³Ό μž‘λ‹΄μ„ ν•˜μ§€λ„ μ•Šμ•˜μ£ .
06:12
For a long time,
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μ €λŠ” μ˜€λž«λ™μ•ˆ,
06:14
I denied myself the joy of wearing my beloved hoop earrings
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μ’‹μ•„ν•˜λŠ” 링 κ·€κ±Έμ΄λ‚˜ 이름을 μƒˆκΈ΄ λͺ©κ±Έμ΄λ₯Ό
06:17
or nameplate necklace to work,
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직μž₯μ—μ„œ 차지 μ•Šμ•˜μŠ΅λ‹ˆλ‹€.
06:19
thinking that they were too loud or unscholarly or unprofessional.
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λ„ˆλ¬΄ κ³Όν•˜κ±°λ‚˜ ν”„λ‘œλ‹΅μ§€ μ•Šκ²Œ 보일까 λ΄μš”.
06:23
(Laughter)
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(μ›ƒμŒ)
06:25
I wondered how people would react to my natural hair,
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μ‚¬λžŒλ“€μ΄ 제 곱슬머리λ₯Ό μ–΄λ–»κ²Œ 볼지 κ³ λ―Όν–ˆκ³ 
06:28
or if they viewed me as more acceptable or less authentic when I straightened it.
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생머리λ₯Ό ν•˜λ©΄ μ €λ₯Ό 더 인정할지
ν˜Ήμ€ 진정성이 λΆ€μ‘±ν•˜λ‹€κ³  λ³΄λŠ”κ±΄ μ•„λ‹Œμ§€ κ³ λ―Όν–ˆμ£ .
06:34
And anyone who has felt outside of mainstream representations
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μžμ‹ μ΄ μ£Όλ₯˜μ„Έκ³„ 밖에 μžˆλ‹€κ³  λŠλΌλŠ” μ‚¬λžŒμ΄λΌλ©΄
06:36
understands that there are basic elements just of our everyday being
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λ‚˜μ˜ μ§€κ·Ήνžˆ ν‰λ²”ν•œ 일상적 μš”μ†Œλ“€μ΄
타인을 λΆˆνŽΈν•˜κ²Œ ν•˜κΈ°λ„ ν•œλ‹€λŠ” 것을 μ•Œ κ²ƒμž…λ‹ˆλ‹€.
06:41
that can make other people uncomfortable.
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06:44
But because I am passionate
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μ €λŠ” μžˆλŠ” κ·ΈλŒ€λ‘œ 여성을 ν‘œν˜„ν•˜κ³  μ‹Άμ—ˆκ³ 
06:46
about the everyday representation of women as we are,
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06:49
I stopped presenting an inauthentic representation of myself or my work.
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제 μžμ‹ κ³Ό 일을 ν‘œν˜„ν•˜λŠ”λ° μ •μ§ν•΄μ§€κΈ°λ‘œ ν–ˆμŠ΅λ‹ˆλ‹€.
06:55
And I have been tested.
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그리고 μ‹œν—˜λŒ€μ— 올랐죠.
06:57
This is me pointing at my hoop earring in my office --
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링 귀걸이λ₯Ό ν•˜κ³  사무싀에 찍은 μ‚¬μ§„μž…λ‹ˆλ‹€.
07:00
(Laughter)
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(μ›ƒμŒ)
07:01
Just last month, I was invited to keynote a Latino Heritage Month event.
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μ§€λ‚œλ‹¬ '라틴 λ¬Έν™”μœ μ‚°μ˜ 달' 기쑰연섀을 ν•  μ˜ˆμ •μ—ˆμ–΄μš”.
07:05
The week of the presentation, the organization expressed concerns.
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λ°œν‘œλ₯Ό ν•œ μ£Ό μ•žλ‘κ³  우렀 μ„žμΈ 연락을 λ°›μ•˜μ£ .
07:10
They called my slides "activist,"
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κ΄€κ³„μžκ°€ 제 λ°œν‘œμžλ£Œλ₯Ό "μ•‘ν‹°λΉ„μŠ€νŠΈ"라고 μ–ΈκΈ‰ν–ˆμ–΄μš”.
07:12
and they meant that negatively.
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뢀정적인 λ‰˜μ•™μŠ€λ”κ΅°μš”.
07:14
(Laughter)
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(μ›ƒμŒ)
07:17
(Applause)
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(λ°•μˆ˜)
07:22
Two days before the presentation,
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행사 이틀 μ „ κ΄€κ³„μžλŠ”
07:24
they requested that I not show a two-minute video affirming natural hair,
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μžμ—° λͺ¨λ°œ 긍정에 κ΄€ν•œ 2λΆ„ μ˜μƒμ„ λΉΌλ‹¬λΌλ”κ΅°μš”.
07:28
because "it may create a barrier to the learning process
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μ΄μœ λŠ” "일뢀 μ°Έκ°€μžλ“€μ—κ²Œ 거뢀감을 μœ λ°œν•  μˆ˜λ„ μžˆλ‹€"
07:31
for some of the participants."
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07:33
(Laughter)
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(μ›ƒμŒ)
07:34
That poem, "Hair," was written and performed by Elizabeth Acevedo,
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λ°”λ‘œ κ·Έ "머리칼"은 μ—˜λ¦¬μžλ² μŠ€ μ•„μ„Έλ² λ„μ˜ μ‹œμž…λ‹ˆλ‹€.
07:39
a Dominican-American 2018 National Book Award winner,
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κ·Έλ…€λŠ” λ„λ―Έλ‹ˆμΉ΄κ³„ 미ꡭ인으둜 2018λ…„ μ „λ―Έλ„μ„œμƒ μˆ˜μƒμžμž…λ‹ˆλ‹€.
07:43
and it appeared in an award-winning Smithsonian exhibit that I curated.
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μ œκ°€ νλ ˆμ΄νŒ…ν•˜μ—¬ μˆ˜μƒν•œ μŠ€λ―ΈμŠ€μ†Œλ‹ˆμ–Έ μ „μ‹œμ— 이 μ‹œλ₯Ό μ†Œκ°œν–ˆμ—ˆμ£ .
07:47
I canceled the talk,
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μ €λŠ” 연섀을 μ·¨μ†Œν–ˆμŠ΅λ‹ˆλ‹€.
07:48
explaining to them that their censorship of me and my work made me uncomfortable.
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제 일과 저에 λŒ€ν•œ 검열이 λΆˆμΎŒν•˜λ‹€κ³  μ•Œλ ΈμŠ΅λ‹ˆλ‹€.
07:54
(Applause and cheers)
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(λ°•μˆ˜μ™€ ν™˜ν˜Έ)
08:03
Respectability politics and idealized femininity
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체면의 μ •μΉ˜μ™€ μ΄μƒν™”λœ 여성상은
08:07
influence how we display women
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여성을 μ–΄λ–€ λ°©μ‹μœΌλ‘œ λ¬˜μ‚¬ν•˜κ³ 
08:09
and which women we choose to display.
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μ–΄λ–€ 여성을 선택할지에 영ν–₯을 λ―ΈμΉ©λ‹ˆλ‹€.
08:12
And that display has skewed toward successful and extraordinary
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μ΄λŠ” νŠΉμΆœν•˜κ³  μ„±κ³΅ν•œ μ—¬μ„±,
08:15
and reputable and desirable,
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ν‰νŒμ΄ μ’‹κ³  호감 κ°€λŠ” μ—¬μ„±λ§Œμ„ 편ν–₯적으둜 λ³΄μ—¬μ£Όμ˜€κ³ 
08:18
which maintains the systemic exclusion
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주둜 백인이 μ•„λ‹Œ 일상 속에 μ‘΄μž¬ν•˜λŠ” ν‰λ²”ν•˜κ³ 
08:20
and marginalization of the everyday, the regular, the underrepresented
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잘 λ“œλŸ¬λ‚˜μ§€ μ•ŠλŠ” 여성듀에 λŒ€ν•œ μ œλ„μ μΈ λ°°μ œμ™€ μ£Όλ³€ν™”λ‘œ μ΄μ–΄μ‘ŒμŠ΅λ‹ˆλ‹€.
08:25
and usually, the nonwhite.
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08:27
As a museum curator, I am empowered to change that narrative.
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μ €λŠ” λ°•λ¬Όκ΄€ νλ ˆμ΄ν„°λ‘œμ„œ 그런 μ„œμ‚¬λ₯Ό λ°”κΏ€ 힘이 μžˆμŠ΅λ‹ˆλ‹€.
08:31
I research, collect and interpret objects and images of significance.
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μ „ 의미 μžˆλŠ” 물건, 사진을 쑰사 μˆ˜μ§‘ν•˜μ—¬ ν•΄μ„ν•©λ‹ˆλ‹€.
08:36
Celia Cruz, the queen of Salsa --
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μ‚΄μ‚¬μ˜ 여왕인 셀리아 ν¬λ£¨μ¦ˆλŠ”
08:38
(Cheers)
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(ν™˜ν˜Έ)
08:39
yes -- is significant.
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λ„€, λŒ€λ‹¨ν•˜μ£ .
08:40
And an Afro-Latina.
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아프리카 λΌν‹΄κ³„μ΄κ³ μš”.
08:42
The Smithsonian has collected her costumes, her shoes,
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μŠ€λ―ΈμŠ€μ†Œλ‹ˆμ–Έμ—μ„œ κ·Έλ…€μ˜ μ˜μƒκ³Ό μ‹ λ°œ
08:46
her portrait, her postage stamp
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μ΄ˆμƒν™”μ™€ μš°ν‘œ 등을 μˆ˜μ§‘ν–ˆκ³ 
08:49
and this reimagining ...
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λ˜ν•œ, μ΄λ ‡κ²Œ μž¬μ΄λ―Έμ§€ν™”ν•˜κΈ°λ„ ν•©λ‹ˆλ‹€.
08:51
by artist Tony Peralta.
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ν† λ‹ˆ νŽ˜λž„νƒ€μ˜ μž‘ν’ˆμž…λ‹ˆλ‹€.
08:54
When I collected and displayed this work,
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이 μž‘ν’ˆλ“€μ„ λͺ¨μ€ μ „μ‹œλŠ”
08:56
it was a victory for symbolic contradictions.
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λͺ¨μˆœμ„ μƒμ§•μ μœΌλ‘œ ν‘œν˜„ν•˜λŠ”λ° μ„±κ³΅ν–ˆμŠ΅λ‹ˆλ‹€.
08:59
Pride in displaying a dark-skinned Latina,
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μ–΄λ‘μš΄ ν”ΌλΆ€μ˜ 라틴계 μ—¬μ„±,
09:02
a black woman,
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흑인 여성을 ν‘œν˜„ν•˜λŠ” μžλΆ€μ‹¬μ΄μ£ .
09:03
whose hair is in large rollers which straighten your hair,
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머리λ₯Ό νŽ΄λŠ” 큰 둀을 말고 μžˆλŠ” μ—¬μ„±,
09:06
perhaps a nod to white beauty standards.
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백인의 미의 기쀀을 λ”°λžμ„ 수 μžˆκ³ μš”.
09:08
A refined, glamorous woman in oversized, chunky gold jewelry.
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νΌμ§ν•œ 금 μž₯신ꡬλ₯Ό μ°©μš©ν•œ ν™”λ €ν•˜κ³  μ„Έλ ¨λœ μ—¬μ„±.
09:13
When this work was on view,
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이 μž‘ν’ˆμ΄ μ „μ‹œλ˜μ—ˆμ„ λ•Œ
09:15
it was one of our most Instagrammed pieces,
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μΈμŠ€νƒ€κ·Έλž¨μ—μ„œ κ°€μž₯ λ§Žμ€ 관심을 λ°›μ•˜κ³ 
09:17
and visitors told me they connected with the everyday elements
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κ΄€λžŒκ°λ“€μ€ 일상적 μš”μ†Œμ™€ 연결될 수 μžˆμ—ˆλ‹€κ³  λ§ν–ˆμŠ΅λ‹ˆλ‹€.
09:20
of her brown skin or her rollers or her jewelry.
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짙은 ν”ΌλΆ€μƒ‰μ΄λ‚˜ 머리 λ‘€, μž₯신ꡬ λ“±μ΄μš”.
09:24
Our collections include Celia Cruz
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이 μ „μ‹œμ—λŠ” 셀리아 μΏ λ₯΄μ¦ˆλ₯Ό ν¬ν•¨ν•˜μ—¬
09:27
and a rare portrait of a young Harriet Tubman ...
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헀리엇 ν„°λΈŒλ§¨μ˜ μ Šμ€ μ‹œμ ˆ μ΄ˆμƒν™”,
09:31
iconic clothing from the incomparable Oprah Winfrey.
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μ˜€ν”„λΌ μœˆν”„λ¦¬λ₯Ό μƒμ§•ν•˜λŠ” μ˜μƒλ„ μžˆμŠ΅λ‹ˆλ‹€.
09:36
But museums can literally change
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박물관은 λ°”κΏ€ 수 μžˆμŠ΅λ‹ˆλ‹€.
09:38
how hundreds of millions of people see women
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여성을 λ³΄λŠ” 방식을 λ³€ν™”μ‹œν‚€κ³ 
09:41
and which women they see.
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μ–΄λ–€ 여성을 보여쀄지λ₯Ό κ²°μ •ν•  수 μžˆμ–΄μš”.
09:43
So rather than always the first or the famous,
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항상 μ΅œκ³ μ΄κ±°λ‚˜ 유λͺ…ν•œ 여성이 μ•„λ‹ˆλΌ,
09:47
it's also our responsibility to show a regular Saturday at the beauty salon,
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ν‰λ²”ν•œ ν† μš”μΌ, λ―Έμš©μ‹€μ— μžˆλŠ” 여성을 λ³΄μ—¬μ£ΌλŠ” 것도 우리의 사λͺ…μž…λ‹ˆλ‹€.
09:52
the art of door-knocker earrings ...
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λ¬Έκ³ λ¦¬λ§Œν•œ 귀걸이λ₯Ό μ°¬ μž‘ν’ˆ,
09:54
(Laughter)
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(μ›ƒμŒ)
09:56
fashionable sisterhood ...
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μœ ν–‰μ— λ―Όκ°ν•œ 자맀,
09:57
(Laughter)
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(μ›ƒμŒ)
09:58
and cultural pride at all ages.
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λͺ¨λ“  μ—°λ ΉλŒ€μ˜ 문화적 μžλΆ€μ‹¬λ„μš”.
10:01
Stories of everyday women
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ν‰λ²”ν•œ μ—¬μ„±λ“€μ˜ 이야기듀은
10:02
whose stories have been knowingly omitted from our national and global histories.
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κ΅­λ‚΄μ™Έ 역사λ₯Ό λ§‰λ‘ ν•˜κ³  고의둜 μƒλž΅λμŠ΅λ‹ˆλ‹€.
10:07
And oftentimes in museums, you see women represented by clothing
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μ’…μ’… λ°•λ¬Όκ΄€μ—μ„œ μ—¬μ„±μ˜ 흔적을
10:10
or portraits or photography ...
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μ˜μƒ, μ΄ˆμƒν™”, μ‚¬μ§„μ—μ„œ λ§Œλ‚©λ‹ˆλ‹€.
10:14
but impactful, life-changing stories from everyday women
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ν‰λ²”ν•œ μ—¬μ„±μ˜ 이야기도 인생을 λ°”κΏ€ 만큼 κ°•λ ¬ν•  수 μžˆμŠ΅λ‹ˆλ‹€.
10:18
can also look like this Esmeraldan boat seat.
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이 μ—μŠ€λ©”λž„λ‹€μŠ€ λ°° 의자처럼 말이죠.
10:21
Esmeraldas, Ecuador was a maroon community.
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에콰도λ₯΄μ˜ μ—μŠ€λ©”λž„λ‹€μŠ€λŠ” κ³ λ¦½λ¬΄μ›μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
10:24
Its dense rainforest protected indigenous and African populations
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μšΈμ°½ν•œ μ—΄λŒ€μš°λ¦Όμ΄ ν† μ°©λ―Όκ³Ό 아프리카인듀을
10:28
from Spanish colonizers.
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슀페인 μ •λ³΅μžλ“€λ‘œλΆ€ν„° μ§€μΌœμ£Όμ—ˆμŠ΅λ‹ˆλ‹€.
10:30
There are roads now,
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ν˜„μž¬λŠ” λ„λ‘œκ°€ 있긴 ν•˜μ§€λ§Œ
10:31
but there are some parts inland that are still only accessible by canoe.
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μ—¬μ „νžˆ μΉ΄λˆ„λ‘œλ§Œ ν†΅ν•˜λŠ” 곳이 λ‚¨μ•„μžˆμ£ .
10:35
DΓ©bora Nazareno frequently traveled those Ecuadorian waterways by canoe,
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데보라 λ‚˜μžλ ˆλ…ΈλŠ” μΉ΄λˆ„λ‘œ 자주 수둜λ₯Ό λˆ„λ³μŠ΅λ‹ˆλ‹€.
10:39
so she had her own boat seat.
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κ·Έλ…€μ—κ²ŒλŠ” μ „μš© λ°° μ˜μžκ°€ μžˆμ—ˆμ£ .
10:41
Hers personalized with a spiderweb and a spider,
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κ·Έλ…€λŠ” 거미와 거미쀄 무늬λ₯Ό μƒˆκ²¨μ„œ
10:44
representing Anansi, a character in West African folklore.
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μ„œμ•„ν”„λ¦¬μΉ΄ 전톡에 λ“±μž₯ν•˜λŠ” μ•„λ‚œμ‹œλ₯Ό ν˜•μƒν™”ν–ˆμŠ΅λ‹ˆλ‹€.
10:48
DΓ©bora also sat on this seat at home, telling stories to her grandson, Juan.
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κ·Έλ…€λŠ” μ˜μžμ— 앉아 μ†μž ν›„μ•ˆμ—κ²Œ 이야기λ₯Ό λ“€λ €μ£Όμ—ˆμŠ΅λ‹ˆλ‹€.
10:53
And this intangible ritual of love
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λ¬΄ν˜•μ˜ μ˜μ‹μ„ 톡해
10:56
in the form of intergenerational storytelling
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μ„ΈλŒ€ κ°„ 이야기가 μ „μˆ˜λ˜λŠ” 것을
10:58
is common in communities across the African diaspora.
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아프리카 λ””μ•„μŠ€ν¬λΌ μ‚¬νšŒμ—μ„œ ν”νžˆ λ³Ό 수 μžˆμŠ΅λ‹ˆλ‹€.
11:02
And this everyday act sparked in Juan the desire to collect and preserve
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ν›„μ•ˆμ€ μ΄λŸ¬ν•œ 일상성에 μ£Όλͺ©ν•˜μ—¬ μˆ˜μ§‘κ³Ό 보쑴에 λͺ°μž…ν–ˆκ³ 
11:06
over 50,000 documents related to Afro-Indian culture.
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아프리카 인디언 문화와 κ΄€λ ¨λœ 5만 개 μ΄μƒμ˜ 자료λ₯Ό μˆ˜μ§‘ν•˜μ˜€μ£ .
11:11
In 2005, Juan GarcΓ­a Salazar, DΓ©bora's grandson,
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2005λ…„, 데보라의 μ†μžμΈ ν›„μ•ˆ κ°€λ₯΄μ‹œμ•„ μ‚΄λΌμžλ₯΄λŠ”
11:15
and by now a world-renowned Afro-Ecuadorian scholar,
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ν˜„μž¬ μ„Έκ³„μ μœΌλ‘œ μ €λͺ…ν•œ 아프리카계 에콰도λ₯΄ ν•™μžλ‘œ
11:19
traveled to Washington, D.C.
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κ·ΈλŠ” μ›Œμ‹±ν„΄ D.Cλ₯Ό ν–₯ν•©λ‹ˆλ‹€.
11:21
He met with Lonnie Bunch, the director of the museum where I work,
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μŠ€λ―ΈμŠ€μ†Œλ‹ˆμ–Έ λ°•λ¬Όκ΄€μž₯ λ‘œλ‹ˆ 번치λ₯Ό λ§Œλ‚˜μ£ .
11:24
and toward the end of their conversation,
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κ·Έλ“€μ˜ λŒ€ν™”κ°€ λλ‚˜κ°ˆ 무렡
11:27
Juan reached into his bag and said, "I'd like to give you a present."
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ν›„μ•ˆμ€ 가방을 μ—΄λ©°, "선물을 λ“œλ¦¬κ³  μ‹Άκ΅°μš”."라고 ν•©λ‹ˆλ‹€.
11:32
On that day, DΓ©bora Nazareno's humble wooden boat seat
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κ·Έ λ‚ , 데보라 λ‚˜μžλ ˆλ…Έμ˜ ν‰λ²”ν•œ λͺ©μž¬ μ˜μžλŠ”
11:36
became the very first object donated
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μŠ€λ―ΈμŠ€μ†Œλ‹ˆμ–Έ ꡭ립 ν‘μΈμ—­μ‚¬λ¬Έν™”λ°•λ¬Όκ΄€μ˜
11:38
to the Smithsonian National Museum of African-American History and Culture.
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첫 기증 μž‘ν’ˆμ΄ λ©λ‹ˆλ‹€.
11:42
It is encased, displayed and has been seen by almost five million visitors
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박물관은 이 의자λ₯Ό μœ λ¦¬κ΄€μ— λ³΄κ΄€ν•˜μ—¬ μ „μ‹œν–ˆκ³ 
μ „ μ„Έκ³„μ—μ„œ 온 μ•½ 5백만 λͺ…μ˜ κ΄€λžŒκ°μ΄ μž‘ν’ˆμ„ κ°μƒν–ˆμŠ΅λ‹ˆλ‹€.
11:48
from all over the world.
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11:50
I will continue to collect from extraordinary historymakers.
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남닀λ₯Έ 발자취λ₯Ό 남긴 인물듀을 계속 μ°Ύμ•„λ‚΄κ² μŠ΅λ‹ˆλ‹€.
11:54
Their stories are important.
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κ·Έλ“€μ˜ μ΄μ•ΌκΈ°λŠ” μ€‘μš”ν•©λ‹ˆλ‹€.
11:56
But what drives me to show up today and every day
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였늘과 일상 μ†μ—μ„œ μ œκ°€ λͺ©μ†Œλ¦¬λ₯Ό λ‚΄λŠ” μ΄μœ λŠ”
12:00
is the simple passion to write our names in history,
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μ—¬μ„±μ˜ μ΄λ¦„μœΌλ‘œ 역사λ₯Ό μ“°κ² λ‹€λŠ” μˆœμˆ˜ν•œ 열정이 μžˆμŠ΅λ‹ˆλ‹€.
12:04
display them publicly for millions to see
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λͺ¨λ“  이가 여성을 λ³΄λŠ” λ‚ κΉŒμ§€
12:07
and walk in the ever-present light that is woman.
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μ—¬μ„±μ΄λΌλŠ” 밝은 빛을 ν–₯ν•΄ κ±·κ² μŠ΅λ‹ˆλ‹€.
12:10
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
12:12
(Applause and cheers)
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(λ°•μˆ˜μ™€ ν™˜ν˜Έ)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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